Quatrième Étage revamped the visual identity of the iconic Brock store, selecting the ES Face typeface for its logo, a 19th-century inspired serif with contemporary finishes.
After 9 years, Abmo redesigned its own work, renewing the brand identity of this French restaurant. The typefaces used were Neuf by Eliott Grunewald, Traulha by Yoann Minet, and a custom logo by Keussel Studio.
Resonanz B by Out of the Dark and Clarendon Graphic were the typefaces selected by Lisa Sturacci for the editorial design of this book about about Edgar Sarin’s work.
Apparat Bold + Buch Schmal, both from Kimera, were part of the update newkid made for Standard Equipment, a system of household objects.
A festival that explores visual creativity to the point of blurring the lines between illustration and graphics; Miroslav Zhivkov created the identity of FIG (Festival for Illustration and Graphics) using Harber.
From Mexican cantinas and their traditional signage, Socker Studio drew inspiration to design the identity, interiors, and typography for the seafood restaurant Con Vista al Mar.
Maison Standard used Azeret from Displaay Typefaces for the identity of this exhibition at the National Library of Switzerland, which explains the impact of snow on our society.
Regrets Only created a visual identity just like Potluck works; bringing together various elements to create something from scratch. Oracle is used as the primary typeface and Source Han Sans as the secondary.
How should an album cover NOT look? Special Offer and Charli XCX decided to answer this question by stretching the word “brat” in Arial. ROM Mono by Dinamo and Neue Haas Unica by Linotype are used in the interior texts.
Suisse Int’l Condensed used for this strong and dramatic identity for the Teatro Stabile dell’Umbria. Designed by Due Studio.
